Traditional dance is considered today as preserving established spatial–rhythmical patterns without the liberty to create new ones. The paper introduces an approach based on the analysis of spatial changes in dance to interpret content at an abstract level to discover the underlying movement concepts. The content is discovered via the analysis of several legényes motifs by original Hungarian dancers. The concepts are used as foundations to create new patterns by contemporary dancers, which still represent all the hidden features of traditional dancing but may reflect individual creativity. The results suggest a direction of progression where the foundation of development is the movement analysis with the organically connected dance notation...
This paper is based on a bachelor thesis which had the aim of showing the implementation of folk mot...
This article postulates that Somatic Education integrates similar issues related to perception in bo...
This statistical study of 272 dancers, ages 18–96, using Kolb Learning Styles Inventory 4.0, identif...
This paper focuses on the smallest units and micro-structures of traditional dance. I propose a new ...
The book introduces the basics of the Laban kinetography, the most prevalent system of dance literac...
It can be stated that dance notation was proved to be an established tool for dance research and dan...
In this Special Issue, authors present studies and essays that use variations on the Triple CodeImag...
The article introduces the early years of modern dance in Hungary, focusing on one outstanding perso...
Submitted in partial fulfilment of the requirements for the degree of Master of Arts in Dance Studie...
Motif notation is a powerful tool for creativity and community building, even across longdistances. ...
Labanotation is commonly viewed as a purely quantitative form of description. Because of the preoccu...
Structure: In my session, I will share my research of students’ stories about making dances usingmot...
As they are mainly based on bodily experiences and embodied knowledge, dance and movement practices ...
Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultu...
This paper is based on a bachelor thesis which had the aim of showing the implementation of folk mot...
This paper is based on a bachelor thesis which had the aim of showing the implementation of folk mot...
This article postulates that Somatic Education integrates similar issues related to perception in bo...
This statistical study of 272 dancers, ages 18–96, using Kolb Learning Styles Inventory 4.0, identif...
This paper focuses on the smallest units and micro-structures of traditional dance. I propose a new ...
The book introduces the basics of the Laban kinetography, the most prevalent system of dance literac...
It can be stated that dance notation was proved to be an established tool for dance research and dan...
In this Special Issue, authors present studies and essays that use variations on the Triple CodeImag...
The article introduces the early years of modern dance in Hungary, focusing on one outstanding perso...
Submitted in partial fulfilment of the requirements for the degree of Master of Arts in Dance Studie...
Motif notation is a powerful tool for creativity and community building, even across longdistances. ...
Labanotation is commonly viewed as a purely quantitative form of description. Because of the preoccu...
Structure: In my session, I will share my research of students’ stories about making dances usingmot...
As they are mainly based on bodily experiences and embodied knowledge, dance and movement practices ...
Being an indispensable part of our folk tradition, the traditional dance bears elements of our cultu...
This paper is based on a bachelor thesis which had the aim of showing the implementation of folk mot...
This paper is based on a bachelor thesis which had the aim of showing the implementation of folk mot...
This article postulates that Somatic Education integrates similar issues related to perception in bo...
This statistical study of 272 dancers, ages 18–96, using Kolb Learning Styles Inventory 4.0, identif...